Transit Transit moves and it stutters. It's forward-thinking and vintage. It's like an old-timey reel-to-reel science-fiction film flapping and rattling away, left untended by a projectionist nodding off in the corner of his booth, arms folded across his little red vest, his snoring a part of the music too. In other words: It's evocative, it's vexing, it's beautiful -- and it's great.

In defense of his androgynous vocal style, [Eugene Goreshter will] bring up John Lennon, Marc Bolan, Neil Young and Jamaican musicians Junior Murvin, Horace Andy and Desmond Dekker, as artists he admires and who've all been accused of sounding like women. He'll scoff at the notion of any worthwhile "scene" in town -- with the possible exception of Low End Theory at the Airliner -- recalling a decade ago, when his band was propped up as the supposed pillar of some burgeoning Silver Lake "happening," which, he claims, never happened at all.

As for Autolux being an "art" project, Goreshter finds that perception unearned and false. "We're not that kind of band," he says. "We don't want to make a noise record, or a drone record. It would be pretentious for us to do that. Ultimately, it really goes back to the Beatles," he says. "You can't really run away from the Beatles. You're never going to beat it. If you're trying to make pop music, you go for the gold standard."